APPENDIX a Hesiod, Works and Days, Lines 1-201
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Athena from a House on the Areopagus
ATHENA FROM A HOUSE ON THE AREOPAGUS (PLATES 107-112) E XCAVATIONS in 1970 and 1971 in the Athenian Agora revealed a remarkablecol- lection of sculpture from one of the largest of the late Roman houses on the slopes of the Areopagus.1This house, now called House C, was built in the 4th century after Christ with a spaciousplan includingtwo peristylecourts, and it was filled with Greek and Roman marble sculpturesof exceptional quality.2Two significantworks from the house have been I It is a pleasure to acknowledgethe cooperationof H. A. Thompson, T. L. Shear,Jr., and J. McK. Camp II of the Agora Excavationsand Museum, M. Brouskariof the AkropolisMuseum, N. Peppa-Delmouzouof the Epigraphical Museum, and K. Krystalli-Votsi of the National ArchaeologicalMuseum in Athens for allowing me to study and photograph the sculptures included here. I am especially grateful to Evelyn B. Harrison for her continuing encouragementand for permission to publish the Agora material, and to the AmericanSchool of Classical Studies at Athens for its friendly assistance. Works frequentlycited are abbreviatedas follows: Bieber, Copies = M. Bieber, Ancient Copies: Contributionsto the History of Greek and Roman Art, New York 1977 Boardman,GSCP = J. Boardman,Greek Sculpture: The ClassicalPeriod, New York 1985 Karouzou = S. Karouzou, National ArchaeologicalMuseum: Collection of Sculpture. A Cata- logue, Athens 1968 Lawton = C. L. Lawton, Attic Document Reliefs of the Classicaland Hellenistic Periods, diss. PrincetonUniversity, 1984 Leipen = N. Leipen, Athena Parthenos:A Reconstruction,Toronto 1971 Meyer = M. Meyer, Die griechischen Urkundenreliefs,AM Beiheft 13, Berlin 1989 Richter, SSG4 = G. M. A. Richter, The Sculptureand Sculptorsof the Greeks,4th ed., New Haven 1970 Ridgway, FCS = B. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
2 the Muse “Former Poets,” and the Problem of the Past
2 The Muse “former poets,” and the problem of the past Past and Present in Archaic Greek Poetry “old” and “new” in pindar In this chapter, I consider the ways in which epinician poetry regards and represents the past. The past plays a complicated role in this genre. It is of great significance for the epinician project: contempo- rary athletic victories recall and invite comparison with the deeds of heroes from the distant past. But the primary and immediate function of epinician poetry is to praise contemporaries—men of the present. Because of this, a tension is set up between past and present as epinician themes. In epinician poetry, a besetting concern is that the past should not eclipse the present. Epinician poetry repeatedly emphasizes a focus on the present as part of its formal program. In Nemean 4, the poet says that typically, victors are praised in their own day, and by their peers. The poet declines to celebrate the victor’s dead uncle, a former victor at the Isthmus, because, he says, the victor’s grandfather is better qualified to do so. “For some belong to one generation, others to another; but each person hopes to speak best of what he himself has encountered” (91–92). Pindar’s odes also contain many internal references to the here- and-now aspect of epinician performance. The poet urges that it is necessary to celebrate “today” [σα µερν, O. 6.28; P. 4.1–2], and prom- ises a song “right now” [νυν , O. 11.11]. He exhorts the Muses to shed splendor, or shoot shafts of song “now” (N. -
Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen the Dionysian Necessity
Greek and Roman Musical Studies 6 (2018) 247-264 brill.com/grms Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen The Dionysian Necessity Barbara Castiglioni Università di Torino [email protected]/[email protected] Abstract The imagery of Dionysiac performance is characteristic of Euripides’ later choral odes and returns particularly in the Helen’s second stasimon, which foregrounds its own connections with the mimetic program of the New Music and its emphasis on the emancipation of feelings. This paper aims to show that Euripides’ deep interest in con- temporary musical innovations is connected to his interest in the irrational, which made him the most tragic of the poets. Focusing on the musical aspect of the Helen’s second stasimon, the paper will examine how Euripides conveys a sense of the irratio- nal through a new type of song, which liberates music’s power to excite and disorient through its colors, ornament and dizzying wildness. Just as the New Musicians pres- ent themselves as the preservers of cultic tradition, Euripides, far from suppressing Dionysus as Nietzsche claimed, deserves to rank as the most Dionysiac and the most religious of the three tragedians. Keywords Euripides – tragedy – New Music – Dionysus – religion – choral self-referentiality Introduction The choral odes of tragedy regularly involve the Chorus reflecting upon an ear- lier moment in the play or its related myths. In Euripides’ Helen, all three sta- sima are distanced from the action by their mood. The first choral ode follows © koninklijke brill nv, leiden, 2018 | doi:10.1163/22129758-12341322Downloaded from Brill.com09/23/2021 09:44:20AM via free access 248 Castiglioni the successful persuasion of the prophetess, Theonoe, the working out of a good escape plan and high optimism on the part of Helen and Menelaus, but seems to ignore the progress of the play’s action and takes the audience back to the ruin caused by the Trojan war. -
Homer – the Iliad
HOMER – THE ILIAD Homer is the author of both The Iliad and The Odyssey. He lived in Ionia – which is now modern day Turkey – between the years of 900-700 BC. Both of the above epics provided the framework for Greek education and thought. Homer was a blind bard, one who is a professional story teller, an oral historian. Epos or epic means story. An epic is a particular type of story; it involves one with a hero in the midst of a battle. The subject of the poem is the Trojan War which happened approximately in 1200 BC. This was 400 years before the poem was told by Homer. This story would have been read aloud by Homer and other bards that came after him. It was passed down generation to generation by memory. One can only imagine how valuable memory was during that time period – there were no hard drives or memory sticks. On a tangential note, one could see how this poem influenced a culture; to be educated was to memorize a particular set of poems or stories which could be cross-referenced with other people’s memory of those particular stories. The information would be public and not private. The Iliad is one of the greatest stories ever told – a war between two peoples; the Greeks from the West and the Trojans from the East. The purpose of this story is to praise Achilles. The two worlds are brought into focus; the world of the divine order and the human order. The hero of the story is to bring greater order and harmony between these two orders. -
Greek Mythology
Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus). -
Homer and Hesiod
University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 1-1-1997 Homer and Hesiod Ralph M. Rosen University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classical Literature and Philology Commons Recommended Citation Rosen, R. M. (1997). Homer and Hesiod. Retrieved from https://repository.upenn.edu/classics_papers/7 Postprint version. Published in A New Companion to Homer, edited by Barry Powell and Ian Morris, Mnemosyne: Bibliotheca classica Batava, Supplementum 163 (New York: Brill, 1997), pages 463-488. The author has asserted his right to include this material in ScholarlyCommons@Penn. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/7 For more information, please contact [email protected]. Homer and Hesiod Abstract One of the most frustrating aspects of Homeric studies is that so little literary material outside the Homeric corpus itself survives to enhance our understanding of the cultural landscape of the period. Recent scholarship suggests that a large and diverse poetic tradition lay behind the figure we refer to as "Homer," but little of it survives. Indeed we have little continuous written Greek for another century. The one exception is Hesiod, who composed two extant poems, the Theogony and Works and Days, and possibly several others, including the Shield of Heracles and the Catalogue of Women. As we shall see, while Hesiodic poetry was not occupied specifically with heroic themes, it was part of the same formal tradition of epic, sharing with Homer key metrical, dialectal, and dictional features. -
University' Micrrifilms International 300 N.Zeeb Road Ann Arbor, Ml 48106
INFORMATION TO USERS Tliis reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.Thc sign or “target" for pages apparently lacking from the document photographed is “Missing Pagc(s)”. If it was possible to obtain the missing pagc(s) or section, they arc spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning" the matcriul has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with smalt overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
Iconography of the Gorgons on Temple Decoration in Sicily and Western Greece
ICONOGRAPHY OF THE GORGONS ON TEMPLE DECORATION IN SICILY AND WESTERN GREECE By Katrina Marie Heller Submitted to the Faculty of The Archaeological Studies Program Department of Sociology and Archaeology In partial fulfillment of the requirements for the degree of Bachelor of Science University of Wisconsin-La Crosse 2010 Copyright 2010 by Katrina Marie Heller All Rights Reserved ii ICONOGRAPHY OF THE GORGONS ON TEMPLE DECORATION IN SICILY AND WESTERN GREECE Katrina Marie Heller, B.S. University of Wisconsin - La Crosse, 2010 This paper provides a concise analysis of the Gorgon image as it has been featured on temples throughout the Greek world. The Gorgons, also known as Medusa and her two sisters, were common decorative motifs on temples beginning in the eighth century B.C. and reaching their peak of popularity in the sixth century B.C. Their image has been found to decorate various parts of the temple across Sicily, Southern Italy, Crete, and the Greek mainland. By analyzing the city in which the image was found, where on the temple the Gorgon was depicted, as well as stylistic variations, significant differences in these images were identified. While many of the Gorgon icons were used simply as decoration, others, such as those used as antefixes or in pediments may have been utilized as apotropaic devices to ward off evil. iii Acknowledgements I would first like to thank my family and friends for all of their encouragement throughout this project. A special thanks to my parents, Kathy and Gary Heller, who constantly support me in all I do. I need to thank Dr Jim Theler and Dr Christine Hippert for all of the assistance they have provided over the past year, not only for this project but also for their help and interest in my academic future. -
A7 Concept Doc V4
A7 Concept Doc V4 Medusa’s Head Games EME 6614 April 23, 2017 Authored by: Alyssa Luis, Stephen Strnad, Phillip Davis, & Nelson Chandler Fearless Four Group A7 Concept Doc V4 Goal Statement Given a piece of text, 6th grade students will be able to develop and support inferences with text-based evidence correctly 70% of the time. (Classified as analysis goal in Bloom’s Taxonomy) Instructional Context The target audience would be middle school aged children, between the ages of 11 and 14. They enjoy engaging in sci-fi and fantasy video games that require creating, and logic, but that also have a captivating story line. Using computers and tablets for academics and free time is common, which makes them very comfortable with using technology. They often use video games as a way to socialize and even get ideas for new games based on suggestions from their friends. These students are used to being challenged in the classroom with a rigorous curriculum and enjoy being challenged in their video games as well. Within school, these students especially enjoy opportunities to be creative and being involved in creative lessons. Combining the creativity with technology is an even better way to capture their attention, as it merges two of their passions. Students who play this game will do so in a language arts setting; thus, this game should be available for schools to purchase. This setting could be in a traditional classroom or in an online/blended setting because the game would be adaptable to either setting. The students will need access to technology in order to engage in the computer/tablet based game. -
Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles
Ζεύς The Angel of Cycles and Solutions will help us get back on track. In the old schools this angel was known as Jupiter (Zeus in the Greek Mysteries) and was thought of as the personification of cyclic law, the Causal Power of expansion, and the angel of miracles. Price, John Randolph (2010-11-24). Angels Within Us: A Spiritual Guide to the Twenty-Two Angels That Govern Our Everyday Lives (p. 151). Random House Publishing Group. Kindle Edition. Zeus 1 Zeus For other uses, see Zeus (disambiguation). Zeus God of the sky, lightning, thunder, law, order, justice [1] The Jupiter de Smyrne, discovered in Smyrna in 1680 Abode Mount Olympus Symbol Thunderbolt, eagle, bull, and oak Consort Hera and various others Parents Cronus and Rhea Siblings Hestia, Hades, Hera, Poseidon, Demeter Children Aeacus, Ares, Athena, Apollo, Artemis, Aphrodite, Dardanus, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces [2] Roman equivalent Jupiter Zeus (Ancient Greek: Ζεύς, Zeús; Modern Greek: Δίας, Días; English pronunciation /ˈzjuːs/[3] or /ˈzuːs/) is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te)[4] who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort is Dione: according to the Iliad, he is the father of Aphrodite by Dione.[5] He is known for his erotic escapades. -
The Judgment of Paris Short Story
The Judgment Of Paris Short Story Tervalent and sociopathic Sherwynd liquors, but Mead evil disbosoms her agriculturists. Unhappier Winifield podding perspectively or disarrays rompingly when Webb is lapidary. Consequential Spiros engrails frivolously and sideward, she revised her isotope checkers prepositionally. For his present here a faint plashing of us held them, in the characteristics of the greek myths, and the judgment paris short of story Helen was already married to King Menelaus of Sparta a fact Aphrodite neglected to approve so Paris had this raid Menelaus's house or steal Helen from him according to some accounts she meet in peel with Paris and left willingly. By its mate, as my home with powder from rouen, if they moved. Prohibition, wine had not been part of his life in the beer and hard liquor America of his youth. It was Mederic coming in bring letters from one town and to carry away those face the village. The girl as well enshrouded in short of story. The Judgement of Paris 163-1639 Painting by Peter Paul Rubens. That is how you amuse you in Normandy on tall wedding day. When Honore returned to breakfast he seemed quite satisfied and even in a bantering humor. And Troy Learn more had the legendary beauty before her story. Tell it, my dear Jean. When your broke, however, I thought now I was cured, and slept peacefully till noon. What sat it, Cacheux? After all, it is only water, just like what is flowing in the sunlight, and we shall learn nothing by looking at it.